Grateful Dead Live at Eagle's Auditorium on 1968-01-22
- Live concert
- Grateful Dead
- DeadLists Project
* At 1:18 into Born Cross-Eyed there is a source change to higher quality stereo.
* The main source ends at 3:14 into Caution. The remainder of the show is cross faded in from a SBDMR>?>Cass copy. The cut at about 3:14 was also on the cassette, picking directly back up after a one second gap. No Caution vocals are contained on either source.
Crptical Envelopment through Born Cross-Eyed comes from an alternate mono SBDMR source (SBDMR>DAT>CD). It contained a great deal of static which was removed with DePopper.exe.
Feedback before Spanish Jam contains many hints at the Spanish Jam theme.
Also of note is that the end portion of Feedback appears on the "Anthem Of The Sun" LP.
This version of the show was patched together and cleaned up
by Noah Weiner (email@example.com), February, 2002
- 2004-06-23 13:00:55
- SBD > MR > DAT > Sonic Solutions > CD > EAC > Soundforge > SHN
- Seattle, WA
- Transferred by
- Noah Weiner
- Eagle's Auditorium
Subject: Alligator coming round to bother me some more
I am actually listening to the Miller soundboard so not commenting on the sound for this recording.
I do like the Spanish Jam it is the lead-up to all those cowboy tunes that they would eventually cover.
Love the way they roll into the Dark Star!
Dark Star is no longer a "fun" song by the 70's, by then it had turned into a complete and utter journey of mind and sound.
Subject: Very good show
Subject: 45 years ago now
1/20 is my ATF but this is so close, like a side 2 if you will ! Hot damn :)
Subject: One of the very best
If only Clementine was in there.
Subject: I need this Caution!
Subject: My Favorite Alligator
Subject: The Quick and the Dead
Subject: winter '68
Subject: dare I say:a sort of fading away?
Being partial to the guitar thing, being a guitarist as I am, Jerry is a worker and he's always working to find a new note to put into the strangest spots. Phil & Bill(sounds funny) have an odd rhythmical connection, unusual and perhaps more innovative than many realize-I think they function best when they don't listen to each other-maybe that's the wrong way to put it-they certainly have a better connection when Bill keeps out of Phil's busy busy bass like during Caution, they just gel back together around 3:00min in, before that they were kind of dancing around each other but never quite solidifying- whatever you call it- they're brilliant on this fine evening in January 1968. I guess from here on the Jams become somewhat like a blizzard and crazy like a tempest. The feedback, for me, can be nothing less than the most profound way to communicate any idea, image, or information, because the chaos bleeds right through my brain something like a cross between a thousand trains all pulling into the station at once, nails on a chalk board & the echo of some planet in our solar system being destroyed- and the analogies are endless I'm sure.
Subject: Phenomenal '68 jamming...
Another en-suite masterpiece, with pretty much non-stop intensity from the opening notes of the mind-blowing Alligator through Caution. The segues are all extremely well jammed as the band is clearly on the same roll as the previous performance. This phenomenal show is certainly a top ten of 1968!
Subject: The free-form parts of this show are the most inspired
Alligator doesn’t have the energy of others from this period. (Check out the Alligator of 67-08-05 here at Archive.org, for instance.)
What is called Space here is actually an introspective Spanish Jam prelude – inventive, and one of the places where the band is playing its best in this show. This and the Spanish Jam, as well as the final feedback, are the most inspired parts of the show.
Jerry delivers weak vocals on Dark star and China Cat compared to others of this time (such as 1/17/68). Dark Star was only a couple of months old at this point. China Cat and The Eleven were five days old. Jerry stops playing for a bit at the beginning of the Eleven. Sloppy entrance of vocals. The Eleven seems to get stuck in several places, and the transition into Caution is not as smooth as others of this period.
Feedback fans will like the finale of the show, which starts with wild psychedelia, fades to nothing, and rises from the Dead, so to speak. Another show highlight.
All things are relative: this show is still 4 stars because of spots of brilliance, and is miles above some of the really bad performances of the late 1980’s and 1990s (and even some klunkers in the ‘70’s). Definitely worth a listen, but check out some of the other offerings from the Anthem era. (Don’t forget the fall 1967 shows.) Try also the excellent Dick’s Picks Volume 22, 2/23/68, Kings Beach Lake Tahoe.
Subject: Mmmm Hmmmm
~ Let the good times roll
Subject: 68 Dead
Subject: 68 Dead
anyways, the rest of this show is everything i adore about '68, and the sound is excellent. opening with alligator is a righteous move and i wish it happened more. cryptical reprise>caboose is always a favorite of mine, as is dark star>china cat...the shows with those transitions are always among my favorites. far out indeed!
Subject: Unreal Playing Unreal Sound
Subject: spanish JAM
Pigpen's organ is a fully equal musical voice in these days, no "laying out" here--he even participates in the final Feedback. Love it.
Great 16-minute Alligator to open!, and, rarely, they visit all the parts heard on Anthem (by Tahoe, they weren't vocalizing the "Alligator!" chorus anymore).
These early Other One lyrics are funny; just as acid-oriented, but more over-obviously so ("...my head was not in sight/I would ask the walls about it, but they vanished overnite"). The changes were a good thing, I think.
My only lament is not having the complete Born Cross-eyed or Caution, which on my copy both have their middle sections spliced out. Especially too bad on the Caution, since what's here sounds so great; I'm guessing there was a full vocal by Pigpen in actuality. But we enjoy what we have, and are grateful~ classic stuff. Even Feedback is engaging from start to finish.
Solar Jeremy, you're a lucky man. Thanks for sharing, it's always a special treat to encounter the people who were the audience at these mythical shows, especially when you can remember it so clearly AND are still on the bus.....!
Sound quality is quite good, slightly bassy but all instruments are heard clearly.
Subject: real deal
Cutting edge. This is what put them up front.
High energy and excitment. You can see why the had to slow things down.
If someone has a clean copy of this to trade please contact me this is MUST HAVE!
Subject: My First Dead Show
Subject: This should have so many more reviews!!
Subject: Great early show.
But I do have one question. Can someone shed some light on the lyrics of the first verse of this particular version of "The Other One?" They are completely different from the usual lyrics. The only line I recognize is "But the heat come round and busted me for smiling on a cloudy day."
Subject: One of the Grails
As for the "uneven" aspects of their performance, don't forget, Jerry was probably tripping his brains out (who else?? not Pig!), which for me makes the erratic... ecstatic.
Subject: Inspired Alligator
Duane Allman riffs, which is always a cool thing.
I tend to reserve the 5 star rating for only the most excellent shows with excellent sound quality, like 3/2/69. This would be a 4 except for the weak vocals in the mix and some parts of the jam that did not become the color the boys intended. Still, its worth having.
Subject: the greatest old Aligator that I have ever heard
Subject: Feedback not in Live Dead
Magical moments abound. At about the 3/4 mark in Alligator, during a tentative exploratory part of the jam, Garcia casually invents the Dickey Betts vocabulary and goes on to develop it further in the Other One. Potato Caboose is sublime with an incredible transition into Cross Eyed. Or the point that China Cat kicks into overdrive and rages until a seamless segue into a boiling Eleven.
Very good audio quality for early '68 despite some gaps and splices.
You need this one.